Art history in the context of Métamatic

A mask is an object normally worn on the face, typically for protection, disguise, performance, or entertainment, and often employed for rituals and rites. Masks have been used since antiquity for both ceremonial and practical purposes, as well as in the performing arts and for entertainment. They are usually worn on the face, although they may also be positioned for effect elsewhere on the wearer's body.

In art history, especially sculpture, "mask" is the term for a face without a body that is not modelled in the round (which would make it a "head"), but for example appears in low relief.

Renaissance art (1350 – 1620) is the painting, sculpture, and decorative arts of the period of European history known as the Renaissance, which emerged as a distinct style in Italy in about AD 1400, in parallel with developments which occurred in philosophy, literature, music, science, and technology. Renaissance art took as its foundation the art of Classical antiquity, perceived as the noblest of ancient traditions, but transformed that tradition by absorbing recent developments in the art of Northern Europe and by applying contemporary scientific knowledge. Along with Renaissance humanist philosophy, it spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. For art historians, Renaissance art marks the transition of Europe from the medieval period to the Early Modern age.

The body of art, including painting, sculpture, architecture, music and literature identified as "Renaissance art" was primarily produced during the 14th, 15th, and 16th centuries in Europe under the combined influences of an increased awareness of nature, a revival of classical learning, and a more individualistic view of man. Scholars no longer believe that the Renaissance marked an abrupt break with medieval values, as is suggested by the French word renaissance, literally meaning "rebirth". In many parts of Europe, Early Renaissance art was created in parallel with Late Medieval art.

Giorgio Vasari (30 July 1511 – 27 June 1574) was an Italian Renaissance painter, architect, art historian, and biographer known for his work Lives of the Most Excellent Painters, Sculptors, and Architects, considered the ideological foundation of Western art-historical writing, and still much cited in modern biographies of the many Italian Renaissance artists he covers, including Leonardo da Vinci and Michelangelo, although he is since regarded as including many factual errors, especially when covering artists from before he was born.

Vasari was a Mannerist painter highly regarded both as a painter and architect in his day but rather less so in later centuries. He was effectively what would later be called the minister of culture to the Medici court in Florence, and the Lives promoted, with enduring success, the idea of Florentine superiority in the visual arts.

In art history, the High Renaissance was a short period of the most exceptional artistic production in the Italian states, particularly Rome, capital of the Papal States, and in Florence, during the Italian Renaissance. Most art historians state that the High Renaissance started between 1490 and 1500, and ended in 1520 with the death of Raphael, although some say the High Renaissance ended about 1525, or in 1527 with the Sack of Rome by the mutinous army of Charles V, Holy Roman Emperor, or about 1530. The best-known exponents of painting, sculpture, and architecture of the High Renaissance include Leonardo da Vinci, Michelangelo, Raphael, and Bramante. In the 21st century, the use of the term has been frequently criticized by some academic art historians for oversimplifying artistic developments, ignoring historical context, and focusing only on a few iconic works.

An artifact or artefact (British English) is a general term for an item made or given shape by humans, such as a tool or a work of art, especially an object of archaeological interest. In archaeology, the word has become a term of particular nuance; it is defined as an object recovered by archaeological endeavor, including cultural artifacts (of cultural interest).

"Artefact" is the general term used in archaeology, while in museums the equivalent general term is normally "object", and in art history perhaps artwork or a more specific term such as "carving". The same item may be called all or any of these in different contexts, and more specific terms will be used when talking about individual objects, or groups of similar ones.

The Kunsthistorisches Museum Wien (lit. "Vienna Museum of Art History", often referred to as the "Museum of Fine Arts, Vienna") is an art museum in Vienna, Austria. Housed in its festive palatial building on the Vienna Ring Road, it is crowned with an octagonal dome. The term Kunsthistorisches Museum applies to both the institution and the main building. It is the largest art museum in the country.

Emperor Franz Joseph I of Austria-Hungary opened the facility around 1891 at the same time as the Natural History Museum, Vienna which has a similar design and is directly across Maria-Theresien-Platz. The two buildings were constructed between 1871 and 1891 according to plans by Gottfried Semper and Baron Karl von Hasenauer. The emperor commissioned the two Ringstraße museums to create a suitable home for the Habsburgs' formidable art collection and to make it accessible to the general public. The buildings are rectangular, with symmetrical Renaissance Revival façades of sandstone lined with large arched windows on the main levels and topped with octagonal domes 60 metres (200 ft) high. The interiors of the museums are lavishly decorated with marble, stucco ornamentation, gold-leaf, and murals. The grand stairway features paintings by Gustav Klimt, Ernst Klimt, Franz Matsch, Hans Makart and Mihály Munkácsy.

The National Museum in New Delhi, also known as the National Museum of India, is one of the largest museums in India. Established in 1949, it holds a variety of articles ranging from the pre-historic era to modern works of art. It functions under the Ministry of Culture, Government of India. The museum is situated on Janpath. The blueprint of the National Museum had been prepared by the Gwyer Committee set up by the Government of India in 1946. The museum has around 200,000 works of art, mostly Indian, but some of foreign origin, covering over 5,000 years.

It also houses the National Museum Institute of History of Art, Conservation and Museology on the first floor which was established in 1983 and has been a university since 1989, running master's and doctoral level courses in art history, conservation and museology.

Iconography, as a branch of art history, studies the identification, description and interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style. The word iconography comes from the Greek εἰκών ("image") and γράφειν ("to write" or to draw).

A secondary meaning (based on a non-standard translation of the Greek and Russian equivalent terms) is the production or study of the religious images, called "icons", in the Byzantine and Orthodox Christian tradition. This usage is mostly found in works translated from languages such as Greek or Russian, with the correct term being "icon painting".

Symbolism of Christian saints has been used from the very beginnings of the religion. Each saint is said to have led an exemplary life and symbols have been used to tell these stories throughout the history of the Church. A number of Christian saints are traditionally represented by a symbol or iconic motif associated with their life, termed an attribute or emblem, in order to identify them. The study of these forms part of iconography in art history. They were particularly used so that the illiterate could recognize a scene, and to give each of the Saints something of a personality in art. They are often carried in the hand by the Saint.

Attributes often vary with either time or geography, especially between Eastern Christianity and the West. Orthodox images more often contained inscriptions with the names of saints, so the Eastern repertoire of attributes is generally smaller than the Western. Many of the most prominent saints, like Saint Peter and Saint John the Evangelist can also be recognised by a distinctive facial type. Some attributes are general, such as the martyr's palm. The use of a symbol in a work of art depicting a Saint reminds people who is being shown and of their story. The following is a list of some of these attributes.

With respect to cultural property, conservation science is the interdisciplinary study of the conservation of art, architecture, technical art history and other cultural works through the use of scientific inquiry. General areas of research include the technology and structure of artistic and historic works. In other words, the materials and techniques from which cultural, artistic and historic objects are made. There are three broad categories of conservation science with respect to cultural heritage: understanding the materials and techniques used by artists, study of the causes of deterioration, and improving techniques and materials for examination and treatment. Conservation science includes aspects of materials science, chemistry, physics, biology, and engineering, as well as art history and anthropology. Institutions such as the Getty Conservation Institute specialize in publishing and disseminating information relating to both tools used for and outcomes of conservation science research, as well as recent discoveries in the field.

Media studies is a discipline and field of study that deals with the content, history, and effects of various media; in particular, the mass media. Media studies may draw on traditions from both the social sciences and the humanities, but it mostly draws from its core disciplines of mass communication, communication, communication sciences, and communication studies.

Researchers may also develop and employ theories and methods from disciplines including cultural studies, rhetoric (including digital rhetoric), philosophy, literary theory, psychology, political science, political economy, economics, sociology, anthropology, social theory, art history and criticism, film theory, and information theory.

Feminist theory is the extension of feminism into theoretical, fictional, or philosophical discourse. It aims to understand the nature of gender inequality. It examines women's and men's social roles, experiences, interests, chores, and feminist politics in a variety of fields, such as anthropology and sociology, communication, media studies, psychoanalysis, political theory, home economics, literature, education, and philosophy.

Feminist theory often focuses on analyzing gender inequality. Themes often explored in feminist theory include discrimination, objectification (especially sexual objectification), oppression, patriarchy, stereotyping, art history and contemporary art, and aesthetics.

Johann Joachim Winckelmann (US: /ˈvɪŋkəlmɑːn/ VINK-əl-mahn; German: [ˈjoːhan ˈjoːaxɪm ˈvɪŋkl̩man]; 9 December 1717 – 8 June 1768) was a German art historian and archaeologist. He was a pioneering Hellenist who first articulated the differences between Greek, Greco-Roman and Roman art. "The prophet and founding hero of modern archaeology", Winckelmann was one of the founders of scientific archaeology and first applied the categories of style on a large, systematic basis to the history of art. Many consider him the father of the discipline of art history. He was one of the first to separate Greek Art into periods, and time classifications.

He had a decisive influence on the rise of the Neoclassical movement during the late 18th century. His writings influenced not only a new science of archaeology and art history but Western painting, sculpture, literature and even philosophy. Winckelmann's History of Ancient Art (1764) was one of the first books written in German to become a classic of European literature. His subsequent influence on Gotthold Ephraim Lessing, Johann Gottfried Herder, Johann Wolfgang von Goethe, Friedrich Hölderlin, Heinrich Heine, Friedrich Nietzsche, Stefan George and Oswald Spengler has been provocatively called "the Tyranny of Greece over Germany".

In art history, literature, and cultural studies, Orientalism is the imitation or depiction of aspects of the Eastern world (or "Orient") by writers, designers, and artists from the Western world. Orientalist painting, particularly of the Middle East, was one of the many specialties of 19th-century academic art, and Western literature was influenced by a similar interest in Oriental themes.

Since the publication of Edward Said's Orientalism in 1978, much academic discourse has begun to use the term 'Orientalism' to refer to a general patronizing Western attitude towards Middle Eastern, Asian, and North African societies. In Said's analysis, 'the West' essentializes these societies as static and undeveloped—thereby fabricating a view of Oriental culture that can be studied, depicted, and reproduced in the service of imperial power. Implicit in this fabrication, writes Said, is the idea that Western society is developed, rational, flexible, and superior. This allows 'Western imagination' to see 'Eastern' cultures and people as both alluring and a threat to Western civilization.

Helladic chronology is a relative dating system used in archaeology and art history. It complements the Minoan chronology scheme devised by Sir Arthur Evans for the categorisation of Bronze Age artefacts from the Minoan civilization within a historical framework. Whereas Minoan chronology is specific to Crete, the cultural and geographical scope of Helladic chronology is confined to mainland Greece during the same timespan (c. 3200 – c. 1050 BC). Similarly, a Cycladic chronology system is used for artifacts found in the Aegean islands. Archaeological evidence shows that civilization developed at the same time across the region, so the three schemes align chronologically. They are grouped together as "Aegean" in terms such as Aegean art and, rather more controversially, Aegean civilization.

The systems derive primarily from changes in the style of pottery, which is a benchmark for relative dating of associated artifacts such as tools and weapons. On the basis of style and technique, Evans divided his Cretan Bronze Age pottery finds into three main periods which he called Early, Middle and Late Minoan. These were sub-divided into phases and some of those into sub-phases. The Helladic and Cycladic schemes were devised later and have similar sub-divisions. Evans' system has stood the test of time remarkably well but his labels do not provide firm dates because change is never constant and some styles were retained in use much longer than others. In fact it is partly this lack of dates that has been the strength of Evans's system; several of the dates Evans believed have certainly changed, and others remain under discussion, though within fairly narrow ranges, but the scheme just adjusts for such changes. Some pottery can be dated with reasonable precision by reference to Egyptian artifacts whose dates are more certain.